Word: stylist
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Dates: during 1980-1989
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Though Rule is no great stylist--her good intentions and horror at the story cause severe purpling of the writing at crucial times--her book is at least a sensitive, steady account of the facts, given a moving dimension through her relationship with the murderer. Though Rule, like Larson, is unable to get past a snapshot description of the victims to make them stand out as individual sacrifices to the sociopath, one feels it is not because of a deadness of her moral sense. Unlike Larson's rote transcription of the case, The Stranger Beside Me grapples with Ted Bundy...
...novels much, except that one about Spain." In stead, the author pores over maps, diaries and histories. In addition, he regularly does field work in Durango, Colo., so that he can be close to the land he writes about. If L' Amour is not praised as a prose stylist, he is applauded for lore that is accurate down to the last lariat...
Harrison has absolutely no patience with the neurasthenic absorption and empty style of Joan Didion--who has been called "America's finest woman prose stylist," but whom Harrison finds "transparently ersatz," and "merely cheap." "All connections are equally meaningful and equally senseless," says Joan of Dark; her nihilism, says Harrison, amounts to amorality. Didion's not entitled to "fiddle while Watts burns," and her disconnection of the suffering soul from any political or spiritual meaning, sorely contrasts with Harrison's crusade to restore those vital, fading links...
BORN. To Tom Wolfe, 49, razzmatazz stylist and astute chronicler of the trendy and status conscious, who coined "radical chic" and "the me decade" and wrote The Right Stuff, a recent bestseller about the Mercury astronauts; and Sheila Berger Wolfe, 37, art director of Harper's magazine: a daughter, their first child; in New York City. Name: Alexandra Kennerly...
...wrote about men in public roles at a time when most serious fiction was burrowing ever deeper down the rabbit hole of self. Critics complained, irrelevantly, that Snow was not Proust and, accurately, that his prose was often pedestrian and awkward. While he never pretended to be an elegant stylist. Snow had an ear for the telling phrase; two of the titles he corned for the "Strangers and Brothers" series, The New Men and Corridors of Power, quickly became common currency...